genji and akiko

Yosano Akiko's Poems: In Praise of "The Tale of Genji"Author(s): Yosano Akiko and G. G. RowleySource: Monumenta Nipponica, Vol. 56, No. 4 (Winter, 2001), pp. 439-486Published by: Sophia UniversityStable URL: http://www.jstor.org/stable/3096670 .

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Yosano Akiko's Poems "In Praise of The Tale of Genji"

G. G. ROWLEY

An indistinct figure, more shadow than human in form, appeared in the dream of a certain person. "Who is it?" the dreamer asked. "I am Murasaki Shikibu. Because I assembled such a pack of lies and led the hearts of my readers astray, I have been cast into hell and the pain is more than I can bear. So as to relieve my anguish, pray have people compose poems on each and every chapter of The Tale of Genji, including in them the name and the chant 'Namo Amida Butsu.'" Whereupon the dreamer asked, "Just how should one go about composing such poems?" She replied:

Kiritsubo ni / mayowan yami mo / haru bakari namo Amida Butsu to / tsune ni iwanan

To dispel this darkness in which I wander in the Paulownia Court pray chant perpetually "Praise to Amida Buddha."

Ima monogatari, c. 1239

hashikeyashi / Genji no maki no / na ni arishi mono nomi haru wa / katawara ni suru

Beloved Genji: that which lay within the names of its chapters in the spring of this New Year I make my sole companions.

Yosano Akiko, January 1920

S OMETIME before 1919, Yosano Akiko 4-SM? (1878-1942) paid a visit to the Kansai railway, real estate, entertainment, and department store mag- nate Kobayashi Ichizo /\4t,- (1873-1957). On this occasion, he showed

her a pair of folding screens from his collection, on which were mounted fifty-

THE AUTHOR teaches English and Japanese literature at Waseda University. She wishes to thank Professors Edwin A. Cranston of Harvard University and Joshua S. Mostow of the University of British Columbia for their painstaking and generous corrections to an earlier draft of the present essay, Professor Goto Shoko &g:fW of Japan Women's University for much-needed help in understanding the relationships between Akiko's poems and The Tale ofGenji, Professor Ii Haruki



440 Monumenta Nipponica 56:4

four tanzaku Hfff in the hand of Ueda Akinari ?:EB3c1' (1734-1809).1 On every tanzaku was a poem, one for each chapter of Genji monogatari.

Akiko later wrote to Kobayashi concerning some Genji poems of her own that she was sending to him. This letter, dated 25 January 1920, is the principal surviving evidence of her viewing of the Genji screens and of the effect Akinari's poems had on her. She writes in part:

I was envious of the Akinari Genji screens that I was fortunate to see once when I called upon you, and the desire one day to attempt the same myself has remained with me ever since. Toward the end of last year I was urgently requested by a certain person to make the fifty-four chapters [of Genji] into poems; by the morning of the thirtieth I had at last finished composing them. Since then I have revised them any number of times, striving insofar as possible to perfect them, and since I am now reasonably confident that it would not be an embarrassment to show them to you, I humbly offer my own Genji poems to you, in the hope that you will be so good as to accept them...

Since these can only be regarded an antiquarian whim, I shall not publish them. I humbly ask you to be so good as to point them out when my unpublished manuscripts are collected posthumously ...2

It is not certain when Akiko actually saw the Akinari Genji screens-her ref- erence in the letter to Kobayashi cited above reads simply sennen ukagai sor6 setsu Ytq 5 h 7 {i-t'fi', "in a previous year when I called upon you"-but the letter does allow us to pinpoint precisely the source of inspiration behind the composition of her own Genji poems. "Envious" (urayamashiku 5 6 t Lb < ) of Akinari's fifty-four poems, Akiko decided to compose a set of her own. She produced her first set in the summer of 1919. Inscribed on squares of heavy paper (shikishi f) and (later?) mounted to form an album, they were given to Masumune Atsuo iEA (1881-1958), the scholar of Japanese literature with

{Vt#1t of Osaka University for kindly arranging a visit to the Itsuo Art Museum ~ ?jkfif in March 2001, the museum's director, Professor Okada Akiko IFfl] Vff, for graciously allowing us to view the Ueda Akinari I? MBJM Genji folding screens in the museum's collection, and Professor Miyakawa Yoko gJl[ft of Shukutoku Ad University for sharing her scholarship so unstint- ingly.

1 Kobayashi pioneered the now widespread pattern of private railway development in which a rail line is constructed from an urban center into the nearby countryside; to encourage use of that line, rural land alongside it is developed as residential suburbs, and at the terminus a department store is built. In 1914, with the same aim in mind, Kobayashi also founded the Takarazuka Shojo Kagekidan T.>I~ tJlk], the Takarazuka All Girls' Revue, at the end of one spur of his bur- geoning system. For brief accounts of Kobayashi's achievements, see Gendai Nihon asahi jin- butsujiten, p. 674; and Takechi 1981.

Tanzaku are long, narrow strips of stiff paper on which poems are inscribed. Kobayashi's collection, including the Akinari Genji screens, is housed in the Itsuo Art Museum in the town of Ikeda on the western edge of Osaka-fu. The screens are described in Asano 1969, p. 398; and the exhibition catalogue Kobayashi Ichizo no me, pp. 51, 83. For the poems, see Asano 1969, pp. 261-69; and Tsuzurabumi, pp. 377-87.

2 Letter in the collection of the Hankya Gakuen Ikeda Bunko Iilfl] IEB5Z*J, cited in Ichikawa 1992, p. 50 (also included in Ichikawa 1998). The full text of the letter may now be found in Yosano Hiroshi Akiko shokan shusei, vol. 2, pp. 57-58 (no. 87).



ROWLEY: Yosano Akiko's Poems 441

whom Akiko and her husband, Hiroshi A (1873-1935), were to collaborate during the 1920s in editing the Nihon koten zensha El *WN5 series of works of classical Japanese literature, broadly defined.3 Then, toward the end of December of that same year, 1919, Akiko revised the poems for a commission. The immediate occasion of the composition of this set is described by Akiko's second son, Yosano Shigeru A (1904-1971), in his memoir En naki tokei Rtcfs i\t (A Doomed Timepiece), where he recalls how Takita Choin Aifflit (1882-1925), editor of Chuo koron +9;'R magazine, came to the Yosano family house and commissioned the poems.

It was perhaps 1918 or 1919 ... [T]owards the end of the year, Takita Choin of Chao koron came to the house. Of course he had often visited before then, always for a chat with my parents; this time he arrived in a rickshaw, but with a folding screen wedged between his knees.... He had come to ask my mother to write upon this screen a poem for each of the fifty-four chapters of Genji, and he would come to fetch it in the evening two days later. As ever, my mother took on the job without demur.

Well, I shan't forget the day because it was New Year's Eve. As usual, Takita- san arrived in a rickshaw ... and when he had been shown to the second floor of our cramped house, my mother said, "I'll begin writing them now, so I hope you won't mind waiting for a bit," and with that apology she got me to make the ink. "You haven't written them yet?" Takita-san murmured, looking a little dis- appointed. "It's taken me until now, but at last I've finished composing them," my mother said apologetically, and with the air of having chosen her words care- fully, she opened a new exercise book.

Takita-san was shocked. "Madam, you mean to say you've composed poems especially? Dear, how rude of me! I had assumed that you of all people would already have some Genji poems."4

From Akiko's January 1920 letter to Kobayashi Ichizo, translated in part above, we know that she had finished this second version of the sequence by the morning of 30 December 1919.5 In her letter, Akiko describes her Genji poems as no more than an "antiquarian whim" (hito nofurukigoto konomi A)J, - a LfY-) and states clearly that she has no intention of publishing them. Later she would change her mind, but for the time being the poems were useful gifts. Her presentation of a set of the poems to Kobayashi would increase the value of her work as objets d'art by placing it in the possession of a noted collector. She also gave sets to Kobayashi Yfko /\JttF , wife of Kobayashi Tenmin )UN (1877- 1956), an Osaka blanket wholesaler and life-long patron of the Yosanos, as well

3 Ichikawa 1998, pp. 254-59. On the Nihon koten zenshu project, see Yosano et al. 1925, pp. 130-31; Shinma 1976, pp. 2-3; and Rowley 2000, pp. 144-46. 4 Yosano 1948, pp. 210-13.

5 The second epigraph to this article, a poem first published in Osaka mainichi shinbun 7Qkf HB iTU on 6 January 1920, also testifies to her involvement with the poems during this period. The Osaka mainichi poem is collected in TYAZ 4, p. 455.




Figure 1. Section of a pair of six-fold screens with attached tanzaku of poems on the chapters of The Tale of Genji by Ueda Akinari, in his own hand. Akinari's "Hana no en" poem, dis- cussed below (pp. 453-56), is second from the right. Ink on paper decorated with yaki-e tM (135.6 x 330.4 mm), early nineteenth century. In the collection of the Itsuo Art Museum, Ikeda, Osaka. Photograph courtesy of the Itsuo Art Museum.

as to Kujo Takeko AflM-r (1887-1928).6 In a letter to Yuko dated March 1920, Akiko writes:

6 For details of the relationship between Tenmin and the Yosanos, see Fujita 1964 and Miya- moto 1993. Kuj6 Takeko was a tanka poet and social activist who founded and worked in a number of Buddhist charitable organizations and educational institutions. I have yet to discover the nature of the relationship between her and Akiko.




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7 Nakazawa Hiromitsu IP R)ajL (1874-1964) designed the covers for several of Akiko's poetry collections. Here Akiko presumably refers to the full-color woodblock print illustrations he made to accompany her first modern Japanese translation of Genji, the Shin'yaku Genji monogatari Ji

8 Shokansha, p. 298.




of the literary journal Myojo HsA, which had been relaunched in November 1921 after a hiatus of thirteen years. And it was here that the poems acquired the title by which they are now known-Genji monogatari raisan MjUfFit L "In Praise of The Tale of Genji."9 Following their first appearance in print, Akiko was able to raise 350 yen for the running expenses of the journal through the sale of yet another album of the poems in her own hand. Later she added twenty-one poems on topics from Eiga monogatari $Lfi and five more on topics from Heike monogatari 4T1j^; this augmented set she included, under the title "Emaki no tame ni" ?) / 7taC_ (For a Picture Scroll), in her poetry collection Ryusei no michi jtaIa_ (Path of a Shooting Star, 1924).10 In later years, the Raisan poems were also sold as scrolls and tanzaku.11

Predecessors In creating the Raisan sequence, Akiko added her name to a centuries-long procession of readers who had been inspired to compose what scholars now call Genji kanmeika MiW~t-, poems on the chapters of Genji.12 The practice of composing sequences of poems, one for each chapter of The Tale of Genji, has a history almost as long as that of the tale itself-originating, indeed, with Murasaki Shikibu, if we credit the dream recorded in Ima monogatari cited as the first epigraph to this essay.13 The earliest known set of Genji waka, Ei Genji monogatari makimaki no na waka f tfi~ll ntKt, dates from the late thir- teenth century and is thought to have been composed by either Fujiwara no Tameie 1qi3,,M (1198-1275) or his grandson Kyogoku Tamekane ,?2~, (1254-1332).14 Next is a sequence of poems in Chinese of unknown authorship dating from 1290, the Fu Hikaru Genji monogatari shi ,,7UiEPoJ,.15 There is also a manual for the composition of linked verse (renga no yoriaigaki ilO) *T-) in the form of a set of Genji waka, compiled c. 1365.16 At least six complete sets of such waka survive from the Muromachi period; the earliest of these is the Koun-bon bakka AtS^$ Ak (c. 1423) by Kazan'in Nagachika ElllKWi:

9 Myojo (2nd series) 1:3 (January 1922), pp. 3-8. 10 TYAZ 4:323-36. For a detailed discussion of the Eiga poems, see Sat6 1982. To the best of my knowledge, there is no extended treatment of the Raisan Genji poems in Japanese; brief mention of a few poems may be found in Seki 1964, Yamamoto 1977, Takenishi 1979, and Takenishi 1980. 11 See, for example, the exhibition catalogue Yosano Akiko: Sono shogai to sakuhin, p. 52. Item

179 is an album of the Raisan poems and item 180 a scroll version. These are reproduced here as figures 3 and 4 respectively. 12 The subject is explored in depth in Teramoto 1970 and Miyakawa 1995. 13 Ima monogatari ~'J, attributed to Fujiwara Nobuzane Wl/,,t{ (1177?-1266), p. 252. 14 Sato 1996 provides an edition of the poems and persuasively argues the case for Tameie's

authorship. 15 Fu Hikaru Genji monogatari shi, pp. 958-71. See also Gunsho kaidai, vol. 5, p. 16. The title

is sometimes rendered in Japanese syntax as Hikaru Genji monogatari ofu suru shi. 16 Hikaru Genji maki no na no uta tiRr9~Rt, in Teramoto 1970, pp. 444-49. The work is

traditionally attributed to Fujiwara no Teika 1JRT (1162-1241), but as Teramoto shows (pp. 433-36), this attribution is unlikely. See his discussion of the sequence as an aide-memoire for the composition of renga, pp. 419-44.




(Koun *Am, d. 1429), so named because the author appended one poem to the end of each chapter of his copy of The Tale of Genji.17 Three other sets, dating from 1486, 1533, and 1560, are described by Ii Haruki {t#i1f in his monu- mental study of Muromachi commentaries on Genji.18 Ii has also prepared an edition of a set dated 1589 by Kaoku Gyokuei IiEMII (1525?-after 1602), the only complete sequence by a woman that predates Akiko's own.19 The sixth Muromachi-period set is the Ukigi bakka i2*EIk (after 1520), by Hashimoto Kinnatsu *tltJ (Yua tIJ, 1454-1537), so named because Kinnatsu appended one poem to the end of each chapter of Ukigi, his commentary on Genji.20

In the Edo period, Akinari's is but one of seven extant sequences of Genji poems. Yanagisawa Yoshisato VW1_R (1687-1745), daimyo first of Kofu FEp, then of Koriyama MDl in the province of Yamato, composed a set entitled Ei Genji makimaki waka ~iJ~it& { 2f.21 And in 1814 a sequence comprising fifty- five waka and one poem in Chinese was compiled by bakufu wakadoshiyori 4

2h Hotta Masaatsu ItfflIEI (1758-1832). Each poem in this set, entitled Ei Genji monogatari waka p$igt-pMlI, was composed by a different author, most of whom were members of the cultural circle around retired rojai t4 Matsudaira Sadanobu VLFt{^ (1758-1829). The group included daimyo, such as Date Narimune {i_;Ilr (1796?-1819); several women, among them Murata Taseko T fl $*-F (1777-1847); and the Kokugaku scholars Hanawa Hokinoichi tfE~ - (1746-1821), his student Yashiro Hirokata M~fL{1/ (1758-1841), and Shimizu Hamaomi iT7kE. (1776-1824).22 Miyakawa Yoko ')IJlf also notes the existence of four further sequences, all of them in the form of scrolls (kan- subon i:Fz) given in offering to Ishiyama temple E L I during the Edo period.23

Like the lists of superlatives, comparisons of character, and other "gossipy" sorts of comment,24 these sequences of poems on the chapters of Genji represent highly individual responses to the tale, most composed with little thought of

17 The text is printed in Ikeda 1956, vol. 7, pp. 216-18. 18 Ii 1980. See his discussions of Genji monogatari mokurokuka iJ!?ffil H -lk (1486), pp.

1012-29, text pp. 1030-36; Ei Genji monogatari makimaki waka pgjci[ il ki n (1533), pp. 1048-59, text pp. 1059-66; and Genji monogatari kyoen waka jiNU~"EN' i~5 (1560), pp. 1067-83, text pp. 1084-90. In a different manuscript, entitled Genji makina waka [iFU.zt , the Ei Genji monogatari makimaki waka appear, with minor variations, attributed to Hosokawa Yusai ,lJ11W4l (1534-1610). For the poems, see Tsuchida 1976, pp. 477-82; for a discussion of the correct attribution, see Miyakawa 1995, pp. 586, 616.

19 Ii 1989. 20 In Nakano 1982. On Kinnatsu's life, see Inoue 1972. 21 Teramoto 1980. Miyakawa 1995, pp. 598-620. Yoshisato was the son of Yanagisawa

Yoshiyasu Bf{ (1658-1714), grand chamberlain (sobayonin {MIJJfA) to the fifth shogun, Tokugawa Tsunayoshi M)liM (1646-1709; r. 1680-1709).

22 This work is also known as Genji monogatari kanmei waka ti~iJ ld t. 23 Miyakawa 1995, pp. 584-85. They are: 1) by Kitamura Kigin ;lt~4 (1624-1705), donated

1704; 2) a second set by Yanagisawa Yoshisato, donated 1728; 3) by Kigin's sixth-generation descendant Kitamura Kibun By (1778-1850), donated 1823; 4) a second set by Hotta Masaatsu, donated 1823. Alas, the temple has so far refused to allow scholars to photograph or even tran- scribe these manuscripts, and thus they cannot be considered here. 24 See Harper 1993, pp. 29-44; and Harper 1994.




wider distribution. Professor Ii's study, cited above, reminds us that they are also a form of commentary, chushaku SEtR. A detailed study of this genre of poems is beyond the scope of this essay. It may be illuminating, however, to examine an example from each available sequence of waka in order to compare Akiko's twentieth-century poems with those of her predecessors. To facilitate such a comparison, the following ten poems on the "Hana no en" Aidf (The Festival of the Cherry Blossoms) chapter of Genji are arranged in chronological order.25

First, a brief summary of the events of the chapter. In the second month of Genji's twentieth year, the emperor, Genji's father, holds a party to celebrate the cherry tree in bloom at the foot of the steps to the ceremonial hall of the inner palace compound. Chinese poems are composed and dances performed. Among those moved by Genji's beauty and talent is his father's empress, Fujitsubo i 1. Genji's passionate desire for her exposes her to great danger; nonetheless, she cannot deny her feelings for him entirely. Unable to approach Fujitsubo after the party is over, Genji happens upon a young woman in the Kokiden L~4A pavilion and makes love to her there. At daybreak they exchange fans, but she refuses to tell him who she is. Later, he discovers that she is the sixth daughter of the minister of the right, and thus the younger sister of the Kokiden consort, mother of Genji's older brother the crown prince. The young woman is known to readers as Oborozukiyo of i A, "night of the misty moon." Genji has been her first lover, and now her father's plans to present her to the crown prince leave her feeling deeply depressed. A month later, the minister of the right holds a party to celebrate the wisteria blossoms at his mansion and Genji makes an appearance. Here, in an exchange of poems in which Oborozukiyo recognizes Genji's allusion and he recognizes her voice, the lovers find one another again.

1. Ei Genji monogatari makimaki no na waka (c. 1271)

arashi fuku / niwa no hana no en /muramura ni tsumoreru haru no /yuki ka to zo mishi26

A wind gusting in the garden of "The Festival of Cherry Blossoms": petals piled in billows looked almost like drifts of spring snow.

The earliest sequence of poems, that attributed to Fujiwara no Tameie, is quite different in character from the later sets considered below. The author is far less interested in imaging the action and feelings depicted in Genji than in a display of technical prowess in rule-bound composition: the actual title of a chapter is worked into each poem; the first syllables of the poems combine to form the

25 The text of Genji monogatari cited below is the six-volume NKBZ edition edited by Abe Akio iJ1kIAt, Akiyama Ken 'L1kJlJ, and Imai Gen'e f'J#w/ (Shogakukan, 1970-1976). Each quotation is identified by volume and page number, followed by the corresponding page number of the English translation by Edward G. Seidensticker. With the exception of chapter titles and characters' names, for which I use Seidensticker's versions, all translations are my own.

26 Sato 1996, p. 41.




incantation "Namo Amida Butsu Amida Butsu ... Amida Hotoke"; and the final syllables of the poems form the Chinese text, read consecutively (boyomi Ad 4), of the eighteenth vow of the Amida Buddha, to save all humanity who practice the nenbutsu, which is the true cause of rebirth in the Pure Land.27 These poems satisfy almost to the syllable the plea of the ghost of Murasaki Shikibu as related in the first epigraph to this essay. But, as this poem on the "Hana no en" chapter indicates, they have only the most tenuous relationship with the con- tents of Genji. There is no gusting wind (arashi), no resort to the conceit of spring snow (haru no yuki) in Murasaki Shikibu's "Hana no en" chapter.

2. Koun-bon bakka (c. 1423) The second set, by Kazan'in Nagachika, a courtier who served the Southern court and became a priest at Nanzenji Ai1, after the reunification of the courts in 1392, is also the work of a single author. As responses to The Tale of Genji, however, Nagachika's poems could hardly be more different from those of the previous sequence. Gone is poetic virtuosity in the service of piety, and in its place is a focus on the events of the chapters. For Nagachika, the essence of the "Hana no en" chapter lies not in the romantic encounter that it describes, but in its dis- astrous political consequences.

hate wa mata / Suma no wakare ni / nageku kana oborozukiyo no /hana no nagori o28

In the end, departing for Suma, how he must have lamented them: memories of the blossoms on that misty moonlit night.

The price of Genji's misappropriation of Oborozukiyo is high. As noted above, her father intends her for the crown prince (1:433; S 155); and after the death of the emperor, in the "Sakaki" t* chapter (2:90; S 192), she is duly appointed naishi no kami 4lf, "wardress of the ladies' apartments," and enters the palace (2:93; S 193). While she is at home on leave from her duties, she and Genji make the most of the opportunity, and he visits her frequently (2:135; S 210). Discovered by the minister of the right in his daughter's bedchamber one morning after a storm, Genji's fall from grace is complete (2:136-41; S 210-14), ending in his "departing for Suma" in self-imposed exile.

3. Genji monogatari mokurokuka (1486) The third set is a group production. On the nineteenth of the second month of

27 The first two characteristics of this sequence are also seen in Genji rokujasanshu no uta i,=,: 7~t-_'~ , a sequence of unknown date and authorship given in Imai 1970, pp. 382-85. So little is known about this latter text, and the manuscript is so corrupt, that I have chosen not to dis- cuss it here. The forty-eight vows of the Buddha Amida are set out in Muryoju kyo ,f,-,, . See Nakamura, Hayashima, and Kino 1990, pp. 155-64.

28 Ikeda 1956, p. 216. I have added dakuten iL to Ikeda's transcription of the manuscript.




Bunmei Zl 18 (1486), courtier Kanroji Chikanaga -UiTW, (1424-1500) organized a poetry party at which fifty-five poems by seventeen imperials and courtiers, including one court lady, were presented-one for each chapter of Genji, plus one for "Kumogakure" HH, an apocryphal chapter presumed to depict Genji's death (although long thought lost, the chapter in fact never existed). Between 1461 and 1463, Chikanaga had made a copy of the Koun (Kazan'in Nagachika) manucript of Genji noted above, but both original and copy were lost during the decade-long orgy of destruction and slaughter known as the Onin no ran jZfcO)L (1467-1477). In 1479, Chikanaga began making a copy of a copy of the Koun manuscript that had survived the conflagrations, a task he completed in 1485. His poetry party the following year celebrated this achievement, but took the form of a kuyo {il, a service to propitiate both the sins committed by Murasaki Shikibu in composing Genji, and Chikanaga's in copying it out.29 The "Hana no en" poem is by a court lady identified by her title as Koto no Naishi no Tsubone ,J ^pJU,.

fukaki yo no / aware shiru made / kokonoe no hana to tsuki to o / sazona nagamemu30

Until we fully comprehend the profound pathos of this world, yes, let us gaze upon the blossoms and moon in the palace.

As the senior naishi nojo -{r of her day, the author of this poem would have lived in the palace as one of the emperor's ladies, serving in the Naishi no Tsukasa rhP{I, the same bureau with which Oborozukiyo herself is identified.31 She is thus in a good position to compare life in the palace of yesteryear with that of her own time; which is precisely what she does in this poem. The focal point of that comparison is the following poem in "Hana no en," spoken by Genji in response to Oborozukiyo's terror-stricken call for help when he grasps her sleeve. "What's there to be upset about?" he asks lightheartedly,

Mi - IN fA) t A I tj - V 7- t a 7) q )tS35 (7tf1 6 Qa M 0 L - ,H S,

fukaki yo no / aware o shiru mo / iru tsuki no oboroke naranu /chigiri to zo omou (1:426; S 152).

One who understands the beauty of a late night should appreciate this misted setting moon; and this far from misty bond.

With the deft exchange of one homophonous kanji for another, Koto no Naishi

29 Ii 1980, pp. 1012-28; Miyakawa 1995, pp. 577-78. 30 Ii 1980, p. 1031. 31 According to the Taih6 Code, the Naishi no Tsukasa was to be staffed by two naishi no kami yjf, four naishi no suke MI, four naishi no jo, and one hundred nyoju i. Koto no naishi is the name given to the senior naishi no jo. Naishi no kami ceased to be appointed after the reign of Emperor Horikawa PiJ-i (1079-1107; r. 1086-1107) and the key duties of that office devolved upon the koto no naishi. For full details, see Asai 1985, pp. 149-68.




transforms Genji's yo no aware I iO tl, "the beauty of the night," into yo no aware tWa&[3ti, "the pathos of this world." In 1486, nine years after the end of the Onin no ran, the palace that Koto no Naishi inhabits is a very different place from that of Murasaki' s creation. Yes, let us admire the blossoms and the moon, Naishi says, but not as accessories to romance; let us instead turn to them for solace as we try to understand what has become of us and why things have changed so much since Genji whispered his poem.

4. Ukigi bakka (after 1520) In contrast to Koto no Naishi's sadly ironic comment on the beauty of the flowers and the moon; the following three Muromachi "Hana no en" poems offer more conventional responses. The first is by Hashimoto Kinnatsu, a court noble who in addition to composing a commentary on Genji, was active in renga cir- cles.

hana o nomi / matsu koto ni shite / sakura yori fuji saku nami ni / kakaru haru kana32

Determined to wait solely for the flower; rather than cherry blossoms how wisteria blooming in waves overhangs this spring.

Kinnatsu takes as the topic of his poem a second "flower festival" described in "Hana no en": the wisteria banquet (fuji no en 3g1) held at the mansion of the minister of the right near the end of the chapter (1: 433-36; S 155-57). Genji has been invited, but when he shows no sign of arriving, the impatient minister sends him a poem pressing him to grace the banquet with his presence (1:434; S 155):

waga yado no / hana shi nabete no / iro naraba nani ka wa sara ni / kimi o matamashi

If the flowers at my home were of so ordinary a color for what reason should I once again wait upon your call?

In his poem Kinnatsu reprises this sentiment: forced to wait for Genji/the flower (hana o nomi matsu), Kinnatsu agrees with the minister of the right that it is the wisteria, rather than the cherry blossoms, that has the greater claim to his affections.

5. Ei Genji monogatari makimaki waka eil^KJA 4n- 1 (1533) Kinnatsu's contemporary, the major court literatus and renga poet Sanjonishi Sanetaka - AMlM (1455-1537), had attended the poetry party held by Kanroji

32 Nakano 1982, p. 128. I am indebted to Professor Nakano Koichi 4POf- of Waseda University for his help in making sense of this poem.




Chikanaga in 1486 and mentioned above. A year later, Sanetaka composed his own set of Genji poems, no longer extant;33 then, towards the end of his life, at the age of seventy-nine, he composed another set to commemorate completing a cycle of lectures on Genji. He dedicated this set to Ishiyama temple at the beginning of the tenth month of Tenbun X9 2 (1533), inaugurating a practice that continued through to the end of the Edo period.34 In his "Hana no en" poem, Sanetaka focuses on the troubled feelings of Fujitsubo as she watches Genji dance.

okata ni /mizarishi hana no /yubae ya kokoro ni amaru / tsuyu no koto no ha35

Never could she view them as others did, these blossoms glowing in the dusk; and more than her heart could contain, those few words of hers.

The blossoms glowing beautifully in the gathering dusk are both Genji himself and the sprig of cherry that the crown prince presents him for his cap. The Genji narrator portrays Fujitsubo, entranced despite her determination to keep her distance from Genji, as asking:

okata ni / hana no sugata o / mimashikaba tsuyu mo kokoro no / okaremashi ya wa

If I could but view the flower of his beauty just as others do then should my heart be even the slightest bit distressed?

The narrator records the poem and then adds, "How could these inner thoughts of hers have escaped?" (Mikokoro no uchi nariken koto, ikade morinikemu lPL'i

P17.) s 0 t_ &, & TitC t r0 UTt, 1:425; S 151). As if in answer to the narrator's question, Sanetaka replies: "Because they were more than her heart could contain."

6. Genji monogatari kyoen waka (1560) In the first year of Koji 3L/ (1555) Kujo Tanemichi Ajtiffi (1507-1594), son- in-law of Sanjonishi Sanetaka, began a series of lectures on Genji. Interrupted by civil war, the lectures were finally completed in 1560, on Eiroku 7-ki 3.11.5. Six days later, on Eiroku 3.11.11, a celebratory banquet was held at which some fifty-five different poets presented poems on the chapters of Genji. The author of the "Hana no en" verse was Ninjo Hosshino {ftfiA3R (1525-1584), prince- abbot of Ninnaji ITrn.36

33 See Miyakawa 1995, pp. 591-98. 34 Miyakawa 1995, pp. 580-81, 620. For a list of the sets dedicated to Ishiyama temple during the Edo period, see note 23 above. 35 Ii 1980, p. 1060. 36 Ii 1980, pp. 1067-83. A brief account of Ninjo's life may be found in Jinmei daijiten, vol. 5,

p. 58.




fl -_I(_ 3 4"E o A t -C Is, tI 0 L n IU P o t Ssl C3EJ XIs3 6 As

kisaragi ya / hana no en cho / toki ni ari to mihashi no sakura / kyo niouran37

"The second month! Time for the Blossom Festival it is," says the cherry by the palace steps, aglow no doubt with pride today.

Ninjo takes as his starting point the opening lines of the chapter: Kisaragi no hatsuka amari, naden no sakura no en sesasetamau -H O- -it E f t 0, A i)

)?-It.-?t~/t ("Sometime after the twentieth of the second month, [the emperor] deigned to give a cherry blossom viewing party at the Naden hall," 1:423; S 150). The upper hemistich of Ninjo's poem paraphrases these words, adding emphasis to the month, and condensing the rest to meet the limitations of syllable count. To this he then adds the quotative particle to, thus opening the possibility of reading the poem as a charming conceit in which the cherry tree itself speaks, "aglow with pride" (niouran) as it rejoices that the day of the blossom festival has come.

7. Genji kanmei waka (1589) This sequence by Kaoku Gyokuei, the daughter of the high-ranking court noble Konoe Taneie jiffih (1503-1566), is, as noted above, the only extant set of Genji kanmeika by a woman to predate Akiko's Raisan poems. Gyokuei's surviving oeuvre reveals a lifelong engagement with Genji, but, alas, all that we know of the circumstances of the composition of her Genji poems comes from a note at the end of the manuscript:

Though they be mere worthless trifles, the musings of an undisciplined heart, I copy them out. Tensho ZIE 17.9.19 Kaoku Gyokuei aged 6438

Gyokuei's poem on the "Hana no en" chapter explores Genji's feelings after his encounter with Oborozukiyo.

rL OA, /UA- t k) _3. t3 ;f5- 05 ) V H@) IfSN ),

hana no en / eni shi ya fukaki / oboroyo no san no toguchi no / ariake no tsuki39

37 Ii 1980, p. 1085. 38 Sujinaki kotodomo nite kokoro ni makase mairase soraite soraedomo, kakiutsushite mairase

soro T -' fS : -C j .I_ tk n . -7t) 6 t~f'~ \E t A , 1 - 6 tDf- , Ii 1989, p. 30. Much research remains to be done on Gyokuei's oeuvre, which also includes a Genji monogatari emaki nnblEfl in six scrolls dated Tenbun R5 23/1554; a four-volume commentary on Genji, Kaokusho tWEtJ, completed in 1594; and a single-volume introduction to Genji, Gyokueisha itA, completed in 1602. On Gyokuei's Genji emaki, see Sorimachi 1978, pp. 18-19; Chairusu [Childs] 1981; Thompson 1984; and Murase 1986, pp. 91-97; for an edition of Kaokusho, see Yoshizawa 1936, pp. 383-448; for an edition of Gyokueishu, see Ii 1969. Yoshizawa's edition of Kaokusho shys away from confident attribution of the text to Gyokuei; this is provided by Ii's article on the commentary in Nihon koten bungaku daijiten, vol. 1, p. 565c.

39 Ii 1989, p. 31. I have added dakuten to Ii's transcription of the manuscript.




The Festival of the Cherry Blossoms: how deep must be his bond on that misty night behind the third door with the dawn moon.

The day after the flower feast at the palace, Genji takes out the fan Oborozukiyo has given him in exchange for his as they parted; decorated with a painted scene of a misty moon reflected in water, it is "nothing out of the ordinary and yet, well used, recalled her taste fondly" (menaretaru koto naredo, yue natsukashu mote- narashitari H]llLt 7a5 &1&, t;7f 6 L , t 0 , 1:430; S 154). Unable to forget her, he writes on the fan:

L- 1 t fft Ql itfI -;n^ 4 ^ Iqx H 0,q SW) * < \;t ^ o^

yo ni shiranu /kokochi koso sure /ariake no tsuki no yukue o /sora ni magaete

Strange and painful longing I feel such as I have never known before: losing sight of the traces of the dawn moon in the sky.

Gyokuei's poem attempts to explain Genji's expression of bewildered longing for Oborozukiyo, the "dawn moon" he has lost sight of in the sky. It is surely because of the depth of their karmic bond (eni shi yafukaki), she suggests, that he feels as he does.

8. Ei Genji makimaki waka (1708) Our first Tokugawa-period example comes from the sequence composed by Yanagisawa Yoshisato. In his "Hana no en" poem, Yoshisato acclaims Genji's beauty as a dancer by comparing him to his friend and rival To no Chujo aO P

aoyagi no /hana no na ni ou /mai no sode mo tachinarabite wa / miyamagi no kage40

Even the admired dance of his sleeves in "Garden of Willows and Flowers" was as if in the shade of a tree deep in the mountains.

To no Chujo's dancing of "Garden of Willows and Flowers" (Rytkaen iFPta) at the Festival of Cherry Blossoms is described by the Genji narrator as "a little overdone" (sukoshi sugushite T _ Lij <L CT) yet "truly affecting" (ito omoshi- rokereba t , t f t LU 6 tdJt$, 1:424; S 151). His performance has already been eclipsed by Genji's brief excerpt from "Waves of the Blue Ocean" (Seigaiha i Mi), a piece that he and To no Chujo had danced together on the occasion of the autumn excursion the previous year. Borrowing vocabulary from the account of that earlier occasion, where the narrator describes To no Chujo's performance as "by comparison, as a tree deep in the mountains standing next to a cherry in full bloom" (tachinarabite wa, nao hana no katawara no miyamagi nari X t I

40 Teramoto 1980, [p. 8]. I have added dakuten to Teramoto's transcription of the manuscript. The set is dated in Miyakawa 1995, p. 608.




rTU t;1i?E?t7 /Wt[i lt Ot, 1:383; S 132), Yoshisato's poem amplifies the purview of the phrase that it quotes: as To no Chluj danced the dance for which he was so rightly acclaimed, even his fluttering sleeves were, by comparison with Genji's, as if hidden in the shade of a tree deep in the mountains.

9. Tsuzurabumi (lff Hf (1805) The sequence composed by Ueda Akinari-the immediate inspiration for Akiko's Raisan poems-provides a ninth example. In a brief preface to the sequence, Akinari describes the provenance of his Genji poems as follows:

My helpmate, taking pity upon me in my old age as I grumbled of the long winter nights, yet finding it impossible to console me in any other way, read to me with great care The Tale of the Shining Genji. Whenever she would finish a chapter-which she did at the rate of one or two per night, or with the longest of them, a chapter in two or three nights-she would claim the recompense of a poem for her efforts. I have no idea to what extent these strange productions misrepresent the spirit (kokoro Z ~ 5) [of Genji]. Utterly nonsensical stuff, it seemed to me.41

Preface-etiquette aside, Akinari saw fit to include his Genji sequence at the end of the miscellaneous poetry (zoka H1k) section of Tsuzurabumi, a collection of his poetry and prose he compiled in 1802 and that was first published 1805-1806. Akinari' s Genji poems were reprinted in a movable-type edition of his work published in 1914;42 they were the only sequence of poems on the chapters of Genji available in any kind of printed edition before Akiko composed her own set in 1919.

Akinari's "Hana no en" poem is the most technically complex performance in this series of examples, using a succession of "pivot words" (kakekotoba [ i) to increase the poem's semantic valence.

kasumu yo mo / shizue yasuge ni / taoraruru usuhanazakura / iro ni nioite43

The pale blossom he plucks as the misty night grows still, as easily, it seems, as from a lower branch, glows with the tint of allure.

Shizu is both an element of yo mo shizu [maru] "the night grows still" and shizue "lower branch"; taoraruru means both "break off" or "pluck" and "have" sex- ually; usuhanazakura is both a metaphor for Oborozukiyo and the description of a color; and iro indicates both the color ("tint") of the palest cherry blossom

41 Asano 1969, p. 260; Tsuzurabumi, p. 377. "Helpmate" is my translation of katawara ni aru hito 7t /t 6 1-_5 7 3A, possibly Akinari's wife Koren-ni fWfAjg (1740-1797); or possibly Teiko- ni A Jt, the woman who looked after Akinari following his wife's death; or, as Nakamura Hiroyasu 4PR1$;'t, editor of the SNKT edition of the poems suggests, possibly his adopted daughter Keiyu-ni ,YiSJE. 42 Ueda 1914, pp. 513-21. 43 Asano 1969, p. 262; Tsuzurabumi, p. 379.




and sensuality, allure. Through his skillful use of these pivot words, Akinari manages both to condense the erotic high point of the chapter into thirty-one syllables and to suggest something of his own playful attitude to the scene.

10. Ei Genji monogatari waka (1814) The final example, from the sequence compiled by Hotta Masaatsu in 1814, is by Matsudaira Nobuyori ?-I{Mf|Ji (1793-1844), a daimyo who served in various bakufu offices and was a student of both Confucianism and Kokugaku.

bb L C - Jt : tht/ fSt L;-44 t 07- & e C

ika ni shite /yo ni wa moreken / okata ni mizarishi hana no / tsuyu no koto no ha44

How did they escape and become known to the world? Those few dew-like words of one who did not see the flower quite as others did.

Nobuyori's poem consists almost entirely of quotations from the "Hana no en" chapter, rearranged. He highlights the same passage chosen by Sanjonishi Sanetaka and examined above: the narrator's comment on Fujitsubo's poem lamenting her longing for the young Genji (1:425; S 151). But that is all he does; unlike Sanetaka, he does not respond creatively to the narrator's question.

Akiko 's Approach How then does Akiko's "Hana no en" poem compare with those of her predecessors? An immediately striking difference is that Akiko's is the only poem written from Oborozukiyo's point of view:

haru no yo no / moya ni yoitaru / tsuki naran tamakura kashinu / waga karibushi ni

It must be the moon, intoxicated by spring night mist, its arm lent as a pillow to become my momentary lover.

Akiko's poem imagines Oborozukiyo's feelings the morning after her unexpected encounter with Genji. The Genji narrator tells us that Oborozukiyo "recalls that ephemeral dream and, feeling quite sad and wretched, is lost in thought" (. .. hakanakarishi yume o oboshiidete, ito mono nagekasha nagametamau Ut7 S7 5tr 0UL -:,UiSL-CT., &ot~ P7)P||L, - 7wb c6 , 1:433; S 155). Akiko's Oborozukiyo recalls in particular the moment when her partner for the night lent her his arm, upon which she pillowed her head. But then she shrinks from the realization: the encounter is not with an actual man, "a little drunker, perhaps, than usual" (eigokochi ya rei narazarikemu 6 htkL'iti {IJ b 0 9tt, 1:427; S 153), but with the moon, intoxicated only by mist.

44 Ei Genji monogatari waka, p. 446. My interpretation departs from that suggested by the editor, Matsuno Yoichi *f}PAI-, and follows Shimauchi 1997, pp. 55-56.




In this conceit lies the key to the most important difference between Akiko's Genji poems and those of her forebears considered here. Her poem is cast in the first person; Oborozukiyo herself is the speaker. Earlier poets scrutinize the novel in great detail, revisiting its settings, reworking its language, and analyzing the emotions of its characters; but they do so from an imaginative position that remains "outside" the text. Often they produce fine, nuanced observations; for some of them have spent their entire lives reading, copying, and lecturing on Genji. Yet, in their poems at least, they seem to hold back from the total immer- sion seen in Akiko's recreation of Oborozukiyo from "inside." Akiko neither reinterprets (like Nagachika), nor reminisces (like Koto no Naishi); she does not merely recycle the diction of the novel (like Ninjo, Yoshisato, and Nobuyori); she is Oborozukiyo.

Of course I do not mean to suggest that Akiko invented the practice of adopt- ing a fictional persona; this technique is ancient, and Akiko' s use of it has obvious affinities with the practice of composing byobu-uta MJi)K, "screen-poems."45 Nonetheless, her Raisan poems stand, I think, as yet another demonstration of the total absorption in and identification with her subject that characterizes all of her work with Genji. In the translation that follows, at least half of her poems can be read as spoken in the persona of a character in the novel. Most of the rest take the point of view of someone-such as the Genji narrator/s-within the world of the novel who is intimately familiar with its characters' emotions and actions. Akiko the poet is not simply a reader of Genji, she inhabits the novel in a way none of her predecessors seem to.

Akiko' s Raisan poems also stand in contrast to certain aspects of her own earlier work on Genji. Elsewhere I have argued that in Akiko's first translation of Genji, the Shin'yaku Genji monogatari (1912-1913), her identification with the novel's characters is such that she distorts the text, sometimes to make Genji conform to the realities of her own life, but more often to make it mirror the fan- tasy that her philandering husband, Hiroshi, is himself a sort of Shining Genji. Genji's determination to have his way with women is softened, sometimes omitted entirely; and the anguish that he causes his consort Murasaki is seen as undue agitation on her part. By "protecting" readers of her first translation from knowing Genji' s worst, Akiko apparently "protected" herself from acknowledg- ing her husband' s true nature and preserved his heroic stature in her own mind.46 Twenty-five years later, in Akiko's second translation of Genji, the Shin- shin'yaku Genji monogatari JfifJiR~KJB (1938-1939), no trace of these dis- tortions remains. The Raisan poems, composed in between her two translations, reveal Akiko in the process of changing her mind about Genji. No longer is she

45 The byobu-uta technique is helpfully defined as "where poets would typically assume the persona of a human figure in a landscape painting and compose a poem from the viewpoint of that figure. These poems would then be inscribed on decorated poetry paper and affixed to the screens." Mostow 1996, p. 17. 46 Rowley 1998; Rowley 2000, pp. 98-109, 112-31.




Figure 3. A set of Akiko's "In Praise of The Tale of Genji" poems inscribed on shikishi and mounted in an album. Ink on paper (18.6 x 21.5 cm), c. 1920. Courtesy of the Sakai City Museum.

prepared to overlook his lapses and accept his view of events. In several of the Raisan poems, the speaker seems to defend a character Genji slights-for example Hanachirusato twhS in poem 11, and the Princess Asagao gBQi)6 in poem 20. In another, number 36, the speaker castigates Genji for hypocrisy in his deal- ings with Onna Sannomiya tCE-- , "the Third Princess." The Raisan poems thus provide evidence of evolution in Akiko's interpretations of Genji characters; they are, as Takenishi Hiroko tTBiE-F suggests, "one more Akiko Genji."47

As we have seen, Akiko produced a considerable number of versions of the Raisan poems. In order of composition, these are: the set composed for Masamune Atsuo and dated summer 1919, now in the collection of the Tenri Library 7 '~mES; the set composed for Takita Choin at the very end of 1919, which, as far as I know, is now lost; the set sent to Kobayashi Ichizo, now in the collection of the Itsuo Art Museum; and the set mentioned in Akiko's letter to Kobayashi Yuko, cited above, preserved in the Kobayashi Tenmin Bunko now in the collection of the Kyoto Furitsu Sogo Shiryokan ATOM; A,, fis. In addition to these four sets, there are numerous others in existence, as catalogues of exhibitions of her work attest.

The present translation compares only the published versions of the poems. There are two versions of the Raisan poems in print: the text first published in Myojo in 1922, which was reprinted unchanged in the Ryasei no michi collec-

47 Takenishi 1979, p. 16.




chapter ep igraphs i n her second modern Japanese translation of The Tale of Genji, the six-volume Shin-shin'yaku Genji monogatari published by Kanao

of these, but I have chosen to translate Akiko's first version, which I like better,

indicating significant revisions in the notes. The fifty-four poems of the Myojo version are here supplemented by six others, all of which form part of the later

"Azumaya" tww, "Tenarai" !. , and "Yume no ukihashi" -; ..a second poem for "Yugiri" ', necessitated by the division of that chapter into two parts, one

Shin-shin'yaku translation; and the poem Akiko composed for the apocryphal

"Kumogakure" ch apter. There are. , threora total of sixty poems in the

isequence here tr anslated . Whereve r tw o poems are given for a s ingle chapterus

the first is the Myojo version and the second is the version substituted for (or added to) it in Shin-shin'yaku Genji monogatari.

Bun'end in 1938-1939.48 A case could emd o rfrigete

48 Akiko's second translation of Genji, complete with Raisan chapter epigraphs, has remained in print since it was first republished after the end of World War Two. Easily available editions include the three-volume bunko ZJg edition published as Zen'yaku Genji monogatari iRENF; ItJ? by Kadokawa Shoten, the first volume of which is now in its sixty-seventh printing; and the one-volume reprint published as Genji monogatari by Kawade Shobo Shinsha, 1988.



"In Praise of The Tale of Genji"

1. "Kiritsubo" / The Paulownia Court

murasaki no / kagayaku hana to / hi no hikari omoiawade wa / araji to zo omou

The flower radiantly purple, and the brilliance of the sun: that they should not love each other seems impossible to me.49

"The flower radiantly purple" is Fujitsubo, described by the Genji narrator as kakayaku hi no miya t77/ < E 0'g, "princess of the radiant sun." "The brilliance of the sun" is the shining Genji, hikaru kimi X8 (1:120; S 16).

2. "Hahakigi" / The Broom Tree

Nakagawa no / satsuki no mizu ni / hito nitari katareba musebi /yoreba wananaku

Like the rushing summer waters of the Nakagawa brook is she: tell my feelings to her, she sobs; approach her, she trembles.50

The speaker of this poem is Genji, and the woman he describes is Utsusemi t 0t, the wife of a deputy provincial governor. Encountering her at a house where he is spending the night, Genji pursues her impetuously. This and the following poem form the first of several of pairs of poems in the Raisan sequence in which a relationship is seen from two sides: the man's point of view in one and the woman's in the other.

3. "Utsusemi" / The Shell of the Locust

utsusemi no / waga usugoromo / miyabio ni narete nuru ya to / ajikinaki koro

Has that robe of mine, frail as an abandoned cicada shell, yielded and now sleeps with that nobleman? A desolate time this.51

49 In the Shin-shin'yaku version, Akiko changes omoiawade wa / araji to zo omou to omoi- awazaru / kotowari mo nashi ?,/'MDid : 5_ Lb 0 t9 ? U, "there is no reason why they should not love each other."

50 In the Shin-shin'yaku version, katareba musebi becomes katareba nageki Itt1 T[t"-, "tell my feelings to her, she sighs."

51 In the Shin-shin 'yaku version, nuru M Q is substituted for nuru a 4, "to sleep," which allows the word to be read additionally as Aii, "to be wet," "to have sexual intercourse."




In this poem, the pair to the previous poem, Utsusemi reveals her anguish that only her robe can be allowed to submit to Genji's desire. With mixed feelings, she has narrowly escaped his advances this time, and he has to make do with a robe she leaves behind (1:204; S 55).

4. "Yugao" / Evening Faces

uki yoru no / akumu to tomo ni / natsukashiki yume mo ato naku / kienikeru kana

Along with the apparition in that dread night's dream, fond dreams, too, have disappeared without a trace.

The speaker is Genji, recalling the woman who visited his dream and then appeared again by the dead Yugao's pillow, this time in spectral form, before van- ishing completely (1:241; S 72). Also vanished is his new love, who will not reappear even in his dreams (1:267; S 83).

5. "Wakamurasaki" / Lavender

0@f@ b0))-b 7At t g - Tl f Z'^^ t z75zt1 t 0 Adf haru no no no / urawakakusa ni / shitashimite

ito Odoka ni / koi mo narinuru

Growing familiar with this tender young slip of the spring fields I find, quite spontaneously, that love too has bloomed and borne fruit.52

The "tender young slip" is the child Murasaki, whom Genji discovers and is instantly enchanted by in this chapter.

6. "Suetsumuhana" / The Safflower

kawagoromo / ue ni kitareba / wagimoko wa kiku koto no mina /mi ni shimanurashi

Because over her robes she wears an ancient fur cloak of black sable, nothing that my love hears seems to penetrate to her heart.

Genji complains about the obtuseness of Suetsumuhana 1t0t, "the Hitachi princess," orphaned daughter of a prince who had held the title of Governor of Hitachi. Now living in straitened circumstances, she attempts to ward off both him and the winter cold with an ancient kawaginu F-, Akiko's kawagoromo (1:367; S 124). The pair to this poem is number 15 below.

52 Nuru, the attributive form of the perfective particle nu, is open to the same interpretations as the verb nuru in the "Utsusemi" poem above: "to sleep," "to be wet," "to have sexual intercourse."




7. "Momiji no ga" / An Autumn Excursion

aoumi no / nami shizuka naru / sama o mau wakaki kokoro wa / shita ni nakaredomo

Dancing a picture of waves on placid blue seas the young heart beneath it all cannot but cry out; and yet ...

In the unresolved adversative suffix -domo with which Akiko ends her poem, she suggests the turmoil that rages in Genji's "young heart," unnoticed by all but one of those who watch him dance. Fujitsubo is pregnant with his child and thus terrified for herself, in both this world and the next. Genji aches to see her again, but she steadfastly keeps him at a distance. For Fujitsubo, they are too close; for Genji, too far apart. On this occasion, however, she must watch him dance. Genji performs "Waves of the Blue Ocean" magnificently, and yet ... (1:383-85; S 132-33).

8. "Hana no en" / The Festival of the Cherry Blossoms

O O^;-c -5 q tos b kft15 L tQ bU ?E haru no yo no / moya ni yoitaru / tsuki naran

tamakura kashinu / waga karibushi ni

It must be the moon, intoxicated by spring night mist, its arm lent as a pillow to become my momentary lover.53

9. "Aoi" / Heartvine

IE , : <h Ab t t tzd to -to bD t ts urameshi to / hito o me ni oku / koto mo kore

mi no otoroe ni / hoka naranu kana

How hateful I am-that looking upon her with resentment, this too should bring naught but my own humiliation in his eyes.54

The speaker of this poem is the Rokujo lady 7~fi~,P, , the widow of a former crown prince. Rokujo has succumbed to Genji's advances, only to find herself treated with a casualness that ill befits her rank. She is overcome with self-disgust when she realizes the baleful effects her jealous wandering spirit has had on Aoi ai>L, Genji's wife; the consequences are not only Aoi's death but the humili- ating exposure of Rokujo's own suffering to Genji (2:29-36, 44-47; S 167-69, 173-74).

53 See the discussion on pp. 454-55 above, and 1:433; S 155. In the Shin-shin'yaku version, moya ni yoitaru becomes moya ni soitaru t - -3- c L3t :_, "accompanying the spring night mist." 54 In the Shin-shin'yaku version, hoka naranu kana becomes hoka narazu shite t: 6 -T7 L T,

"does naught but humiliate me in his eyes."




10. "Sakaki" / The Sacred Tree

Isuzukawa / kami no sakai e / nogarekinu omoiagarishi / hito no mi no hate

Fled away to the precincts of the gods, by the river Isuzu; this is the end to which she, once so proud, has fallen.

This poem, the pair to the Rokujo lady's lament above, presents Genji's (Akiko's) cruel summation of events: "the proud one," the Rokujo lady, her rep- utation in ruins, abandons life in the capital to accompany her daughter to the latter's appointed place of duty as Ise vestal (2:82-87; S 188-90).

11. "Hanachirusato" / The Orange Blossoms

^M U) t A ;:\ f ts_-) LC t L"R <

tachibana mo / koi no urei mo / chirikaeba ka o natsukashimi / hototogisu naku

Because the orange flowers, and love's discontents, too, scatter and fall, drawn by fond memories of the fragrance, the cuckoo sings.

In this briefest of chapters, Genji decides to pay a rare visit to one of his late father's less-favored consorts, the Reikeiden lady I~ijR'tlI, and her younger sister, whom Genji himself has favored, though infrequently. Just as he arrives, a cuckoo sings, giving Genji the opportunity to announce himself with a poem that both flatters the ladies and excuses his neglect of them (2:148-49; S 217):

tachibana no / ka o natsukashimi / hototogisu hanachiru sat o / tazunete zo tou

Because he is drawn by fond memories of the scent of orange blossoms, the cuckoo calls upon the village of falling flowers.

His mention of the scent of orange blossoms is a deft allusion to a famous poem from the Kokinshiu ~i , number 139, in which the anonymous author says that this scent calls to mind the scent of the sleeve of someone known and loved long ago.55 In diction and structure, however, Genji's poem is patterned on a much earlier poem by Otomo no Tabito kfdihA, Man'yOshi 1473.56 Genji thus greets

55 As given in 2:149, note 15; and Kokinsha, p. 105:

satsuki matsu / hana tachibana no / ka o kageba mukashi no hito no /sode no ka zo suru

When I smell the scent of the orange blossoms that wait for the fifth month, the scent given off is of the sleeves of my once beloved.

56 As given in 2:149 note 16; and Man'yosha, vol. 2, p. 316. tMS O - O:ffil K e a ^ c T- ,t RR a -H bed!




the ladies saying, in effect, "although I have long been fond of you, I visit so rarely only because my love is unrequited." Despite his charming insincerity, the younger sister does not hold his inconstancy against him. When he goes round to her quarters she "forgets her anguish" (tsurasa mo wasurenubeshi D t A t, lVosL, 2:150; S 217). And here lies the starting point of Akiko's poem. Her

diction is drawn largely from Genji' s poem and Genji' s borrowings from Tabito, but she reinterprets the phrase ka o natsukashimi in such a way as to alter the causal structure of the poem and set the record straight, so to speak, as regards Genji's intentions. The cuckoo calls at the village of falling flowers not simply because he has fond memories of the scent of the orange blossoms, but because the woman he comes to spend the night with is generous enough to overlook his lapses. It is because her resentment, like the orange blossoms, scatters and falls, that the cuckoo/Genji has such fond memories of her, and them.

12. "Suma" / Suma

hito kouru / namida to wasure / oumi e hikareyukubeki / mi ka to omoinu

To forget the tears of longing they weep for me, and to the ocean be drawn down: must this be my fate? I cannot but wonder.57

The speaker of the poem is Genji as he departs for exile in Suma; there are many women who weep for him, among them Murasaki and Oborozukiyo.

13. "Akashi" / Akashi

0 to < st f6 11( fl U e279roL nA , 0) R iiL T a ^ ts

warinaku mo / wakaregatashi to / shiratama no namida o nagasu / koto no ito kana

How hard it is to part, and how painful, she thinks; and glistening pearl tears she sheds, called forth by the strings of his koto.

Genji is recalled to the capital and must part from the Akashi lady BeiUlt, the woman he has come to love during his period of exile. As a keepsake he gives her his koto and promises that they will meet again before it has fallen out of tune. The Genji narrator remarks: Saredo, tada wakaremu hodo no warinasa o omoimusetaru mo, ito kotowari nari t l a, / _tVS'J]2l t4I4 ED 0) t? - Li, A> -at

tachibana no / hana chiru sato no / hototogisu kata koi shitsutsu / naku hi shi zo oki

The yearning of the cuckoo from the village where orange blossoms fall is unrequited; many are the days he cries in vain!

Not only is Genji's poem made up largely of phrases from Tabito's poem, the first and third ku remain in identical positions; while in the lower hemistich the emphatic particle zo is repeated.

57 In the Shin-shin'yaku version, the perplexing namida to is replaced by namida o.




/t e, A a &bo tD Jo, "But it was entirely natural that, thinking only of the pain of their parting, she should be sobbing" (2:256; S 266). In Akiko's poem, it is the koto that seems to give rise to (nagasu) her tears.

14. "Miotsukushi" / Channel Buoys A-m < U 31 r t fL ,M t b ti 0 $1^-K6 k

miotsukushi / awan to inoru / mitegura mo ware nomi kami ni / tatematsururan

I expect I am the only one, making offerings to the gods, praying with all my heart that we might meet again.

The speaker is the Akashi lady, mortified to discover that her pilgrimage to the Sumiyoshi fidl shrine coincides with Genji's visit. In the novel, the conjuncture forcibly reminds her of her humble station in comparison with Genji's grandeur (2:292-94; S 281-82). Akiko, perhaps more wryly than the text would allow, has the Akashi lady reflect that Genji must have come to pray for something other than their reunion, that she must be the only one come to pray for that.

15. "Yomogiu" / The Wormwood Patch

michi mo naki /yomogi o wakete / kimi zo koshi tare ni mo masaru /mi no kokochi suru

Parting the trackless wormwood patch you came to me; and beyond that of anyone else is the joy I feel.

The speaker of the poem for the earlier chapter in which the Hitachi princess appears, "Suetsumuhana" (number 6), is Genji; this poem, spoken by the princess, is its pair. She is touchingly glad that her prayers have been answered, her faith rewarded: Genji has returned, found her, and rescued her from abandon- ment and near-starvation.

16. "Sekiya" / The Gatehouse

Ausaka wa / seki no shimizu mo / koibito no atsuki namida mo / nagaruru tokoro

Meeting Slope-there it is that both flow: the pure spring by the barrier, the warm tears of a lover.

When Genji greets Utsusemi at the barrier upon her return from Hitachi, she replies (2:351; S 304):

yuku to ku to / sekitomegataki / namida o ya taenu shimizu to / hito wa miruramu




These tears that I shed, as hard to stop when I left as when I return: they must seem to you the eternal spring by the barrier.

17. "E-awase" / A Picture Contest

aigataki / itsuki no miko to / omoiniki sara ni haruka ni / nariyuku mono o

So inaccessible she seemed, vestal virgin-princess of the gods; but now so much further from my reach it is that she goes.58

Upon her return from Ise, Rokujo's daughter, Akikonomu (f, is presented at court and becomes a consort of the Reizei J-P emperor, much to the disap- pointment of the speaker of this poem, the retired Suzaku ki emperor (2:359- 62; S 307-309).

18. "Matsukaze" / The Wind in the Pines

^ ^^ t a t id id^t A IX X& aT FM Uf Kd<

ajikinaki / matsu no kaze kana / nakeba naki ogoto o toreba / onaji ne o hiku

How desolate, this wind in the pines. I weep, and it moans; when I take up his koto, it plays the same strain.

The speaker of this poem is the Akashi lady, still waiting for a visit from Genji after her move to Oi ktF. "When she let down her guard and played a few notes here in this place so far removed from anyone [who might hear her], the wind in the pines, unsettlingly, echoed her strain" (hito hanaretaru ho ni uchitokete sukoshi hiku ni, matsukaze hashitanaku hibikiaitari kAt_ l t*i- b t e9 1tTt-

L< t, L PzU/J t< j &aY / O, 2:398; S 323).

19. "Usugumo" / A Rack of Cloud

t 0 7D 4 0 t Cs t 3 -D 7 i 4 jL'}t- sakura chiru / haru no yube no / usugumo no

namida to narite / otsuru kokochi ni

Of a spring evening, cherry blossoms scattering, while wisps of cloud turn to tears and fall, my spirits seeming to fall with them.

Genji is the speaker of this poem lamenting the death of Fujitsubo. Akiko takes the season (late spring, haru no kure ag)), the time of day (sunset, yahi a BH), the wisps of cloud, and the cherry tree, with its associations both of past joy and present grief, from the Genji narrator's description of Genji's grief (2:438; S 340), but the conceit of clouds turning to tears is her own.

58 In the Shin-shin'yaku version, itsuki no miko becomes itsuki no hime JiQ)I4.




20. "Asagao" / The Morning Glory n 6 L- A 75 k'E ta At AM La T- U ts I- A 0) jG 61Q k 4 ts

mizukara o / aru ka naki ka no / asagao to iinasu hito no / wasurarenu kana

Nor can I forget the one who likened herself to a faded morning glory, so withered as to be all but fallen.

Here Akiko alludes to the exchange of poems between Genji and the Princess Asagao (2:466; S 351). Genji first likens the princess to a morning glory, once so beautiful he cannot forget her/it; but then goes on to wonder whether the flower is not now past its prime. Asagao agrees with his unflattering comparison, describing herself as "a morning glory so withered as to be all but fallen" (aru ka naki ka ni utsuru asagao a K 7b) tPs - 7 :_ 5 D W MA). Akiko here seems to take the part of the aging princess, saying that not only when she was young and beautiful was she unforgettable; her present strength of character is equally so.

21. "Otome" / The Maiden

KWA%< C IJ&X4 -V VG D~ftl- 7

kari naku ya / tsura o hanarete / tada hitotsu hatsukoi o suru / shonen no goto

How the wild goose cries! Separated from the flock and all alone, just like the boy who loves her, loves for the very first time.

The boy is Genji's son Yigiri and the wild goose is of course his love, To no Chujo's daughter Kumoinokari mfWE, who likens herself to that bird in this chapter: kumoi no kari mo wagagoto ya m/?g&F %7x" (3:42; S 371).

22. "Tamakazura" / The Jeweled Chaplet t U W L ti

S T- S,' 7 L 0 RIU < -At tD ti

hi no kuni ni / oiidetareba / iu koto no mina hazukashiku / ho no somaru ware

Reared in the province of Hizen, that land of fire, everything I say an embarrassment to make my cheeks blush with shame.59

Akiko's "land of fire" (hi no kuni) is an ancient term for the provinces of Hizen and Higo in Kyushu, where To no Chujo's long-lost daughter Tamakazura E, , the speaker of this poem, was brought up.60 Embarrassed Tamakazura is, and barely able to respond, when Genji first goes to look in on her following her move to his Rokujo mansion (3:124; S 404), but in the novel it is Murasaki who blushes when Genji teases her (3:126; S 405).

59 In the Shin-shin'yaku version, ho no somaru ware becomes ho no somaru kana, "how [my/her] cheeks blush." 60 Nihon kokugo daijiten, s.v.




23. "Hatsune" / The First Warbler

tS 7) l=-X+" ( tUf e K 1;L -Jn ai ki K

wakayaka ni / uguisu zo naku / hatsuharu no kinu kubarareshi / hitori no gotoku

As with the joy of youth the first warbler sings: just like one of those to whom new robes were given at the beginning of spring.61

Genji gives new robes to his ladies at the end of the previous chapter (3:128-30; S 406-407), then makes New Year's visits to each at the beginning of this chapter to see how the robes look on them (3:139-51; S 410-15). The young daughter of Genji and the Akashi lady likens herself to the warbler (uguisu) in an exchange of poems with her mother (3:140; S 410-11). Akiko here amplifies the youthful abandon of her song (osanaki mikokoro ni makasete 4 i zL' 1-t: T), likening it to the joyful chirrups of the recipients of new robes.

24. "Kocho" / Butterflies

fiA 0 aS 7.-) in;a> lo q -

f -C I, -D 7

sakari naru / miyo no kisaki ni / kin no cho shirogane no tori / hana tatematsuru

To the imperial consort of this flourishing reign, golden butterflies and birds of silver proffer bouquets of flowers.

Murasaki has her attendants dress as butterflies and birds to present flowers in gold and silver vases on the occasion of the reading of the Daihannya kyo ~~fx 1i (Prajfiaparamita Sutra) sponsored by the Akikonomu empress (3:163; S 422).

25. "Hotaru" / Fireflies

mi ni shimite / mono o omoe to / natsu no yo no hotaru honoka ni/ aohikite tobu

May melancholy suffuse and consume you, these fireflies seem to say on this summer night as their pale green traces take flight.

This poem depicts Tamakazura, the one person who was not delighted by the fireflies that expose her to the gaze of Hy6buky6 no Miya ~,4T40?9, the "Firefly Prince" (3:192; S 431-32).

61 In the Shin-shin'yaku version, Akiko changes the sinified final phrase no gotoku to the more purely Japanese-sounding no yo ni.




26. "Tokonatsu" / Wild Carnations

tsuyu okite /kurenai itodo /fukakeredo omoinayameru / nadeshiko no hana

Dew settles, and its crimson hue grows deeper still, and yet beset by tears of anguish is this wild carnation flower.

The "wild carnation" is of course Tamakazura, deeply perturbed by Genji's per- sistent attentions (3:225; S 445).

27. "Kagaribi" / Flares

okinaru / mayumi no moto ni / utsukushiku kagaribi moete / suzukaze zofuku

By the base of the great spindle tree, so beautifully, flares in iron baskets blaze while cool breezes blow.

In Genji's poem to Tamakazura, spoken as he lies next to her, stroking her hair, he explicitly links the "smoke of desire rising from the flares" (kagaribi ni tachisou koi no keburi *kL-/tE-S3a>,O) in the garden of her Rokujo quarters with the "inextinguishable flames" (taesenu honoho _ d-t~igttl0 ) of his own passion for her (3:249; S 455). In Akiko's more decorous verse, she depicts only the beauty of the scene in the garden and leaves it to the (knowledgeable) reader to fill in all that that suggests.

28. "Nowaki" / The Typhoon

kezayaka ni / medetaki hito zo / imashitaru nowaki ga akuru / emaki no oku ni

Someone wondrously beautiful there was, and clearly to be seen, in the depths of the picture scroll the typhoon spreads open.

The conception of Yugiri's stolen glimpse of his stepmother Murasaki (3:257- 58; S 458-59) as a scene in a picture scroll is not the Genji narrator's conceit, but neither is it Akiko's; the scene is standard to the repertoire of painters of Genji-e iFR;, illustrations of the chapters of Genji.62

62 See, for example, Kaoku Gyokuei's emaki version of this scene in Murase 1983, pp. 162-63; and Thompson pp. 54-55. It is of course most unlikely that Akiko had ever seen Gyokuei's illustrations, but she certainly would have seen reproductions of the oldest extant Genji monogatari emaki, dating from the first half of the twelfth century, sections of which were reproduced in Kokka HI[M in 1891, 1905, and 1915. Also in 1915, just four years before Akiko composed the Raisan poems, Kokka published a complete black and white facsimile edition of the sections of this orig- inally multi-scroll set in the possession of the Owari Wt Tokugawa family. For details, see Genji monogatari emaki.




29. "Miyuki" / The Royal Outing

yuki chiru ya / hi yori kashikoku / medetasa mo ue naki kimi no / tama no onkoshi

A flurry of snow! And the glorious palanquin of our sovereign, grander than the day itself, his beauty beyond compare.

When the emperor makes an imperial visit to Oharano !SJ , the Genji narrator describes the passage of his procession through the eyes of Tamakazura (3:281-83; S 467-69). Akiko here seems to carry this narrative stance still further, stepping entirely into the persona of Tamakazura to describe her rapturous delight in the emperor's splendor and good looks.

30. "Fujibakama" / Purple Trousers

murasaki no /fujibakama o ba / miyo to iu futari nakitaki / kokochi oboete

"Look at this bouquet of purple 'wisteria trousers,'" he says; and both of them feel as if they want to break down and weep.

Yugiri slips a bunch offujibakama flowers under Tamakazura's curtains and, in his accompanying poem, reminds her of their shared Fujiwara blood by draw- ing upon the associations between the flower and the blue-gray mourning, fuji- goromo f*t, they both wear for their recently deceased grandmother Princess Omiya ~K'. This relationship, he feels, permits him to press his suit. Though "both of them feel they want to weep," in Yagiri this is but a show of grief meant to elicit sympathy from Tamakazura; in Tamakazura it is despair at being pur- sued by yet another suitor (3:324-25; S 483-85).

31. "Makibashira" / The Cypress Pillar

Sht L C LL ABL &aV f e Q t 0A * -4 ts 1 (a LI a t koishisa mo / kanashiki koto mo / shiranu nari

maki no hashira ni / naramahoshikere Neither yearning desire nor sadness does it know;

would that I might become that pillar of cypress. Makibashira A*tt, the daughter of Higekuro ~M,'4, who ultimately succeeds in making Tamakazura his wife, is the speaker of this poem; in it she expresses rather different emotions from those voiced in her poem in Genji. There, forced to leave her childhood home, she asks the cypress pillar she likes to lean against not to forget her (3:365; S 500); in Akiko's poem she wishes that she herself might become such a pillar.




32. "Umegae" / A Branch of Plum

fIt< X :ifiLI < A 0 it 0 Ai?f t

ame tsuchi ni / haru atarashiku / kitarikeri hikaru Genji no / mimusume no tame

The new year is come, to the heavens and to earth; all for the sake of the noble daughter of the Shining Genji.

This chapter, set in early spring, is devoted almost entirely to description of Genji's preparations for the coming of age ceremony of his daughter, the Akashi princess, and her subsequent entry to the palace as one of the crown prince's consorts. The extraordinary care he lavishes upon the choice of fabrics, the con- coction of perfumes, the rehearsal of music, the redecoration of her apartments, the readying of books and pictures with which they will be furnished, leaves the reader with the impression that this year's spring has indeed come "all for the sake of Genji's daughter."

33. "Fuji no uraba" / Wisteria Leaves

fujibana no / moto no nezashi wa / shiranedomo omoikawaseru / shiro to murasaki

Whither their roots come I know not, but love each other they surely do, the white and the purple wisteria blooms.63

Akiko's poem celebrates the long-awaited union of Yugiri and Kumoinokari, and by extension the union of two great houses, the Minamoto, represented by white, and the Fujiwara, represented by purple.

34 and 35. "Wakana j" / New Leaves: Part One

Rit &A E t t3L';- tC_ I t S t ~ 7D [1; h

namida koso / hito o tanomedo / koborekere kokoro ni masari / hakanakaruran

My tears-though I trusted him-overflow, yet in my heart where they well up, this bitter sense of emptiness will only increase.

The speaker of the poem is Murasaki, venting her feelings of despair at Genji's marriage to the Third Princess.

tachimachi ni / shiranu hana saku / obotsukana ame yori koshi o / utagawanedomo

63 In the Shin-shin'yaku version, omoikawaseru, "they love each other," becomes eda o kawaseru t 7:~D-bett , "they intertwine their branches."




This flower, unknown to me yet so suddenly in bloom, leaves me uneasy; though that it be heaven-sent there can be no doubt.

For the epigraph to this chapter in the Shin-shin 'yaku Genji monogatari, Akiko composed a completely new poem. The speaker is again Murasaki; the flower is the Third Princess, "heaven-sent" in the sense that she has been urged upon Genji by the retired Suzaku emperor.

36. "Wakana ge" / New Leaves: Part Two

i 9 tt?UKt, < t E J L/11 0 ut k

futagokoro / tare mazu mochite / sabishikumo kanashiki yo o ba / tsukurisomeken

A divided and duplicitous heart: who was the first to have one? and began to make these lives so forlorn and sorrowful?

In this chapter, Genji discovers evidence of the Third Princess's affair with To no Chujo's son Kashiwagi tiM*. He is stunned at what he perceives as her faith- lessness: "I would never have thought that she could share her affections with such a creature" (sabakari no hito ni kokoro waketamaubeku wa oboenu mono o

r) A k , iL t_ I, &'. ^< < J d: t3 _ A at 0 , 4:245; S 625). Akiko's poem re- proaches Genji for this hypocrisy: just who was it who first harbored duplicitous thoughts? And just whose "divided heart" led to such tragic consequences in later chapters? Is it not you, Genji, the speaker of Akiko' s poem seems ask, who is responsible for setting in train the catastrophic series of events that includes Murasaki's agony, the anguish of the Third Princess, the death of Kashiwagi, the melancholy of the result of their liaison, Kaoru A? Akiko seems to borrow her diction from an earlier passage in the chapter. On nights when Genji is "as usual absent" (rei no owashimasanu {IfJt ):1 U A)), sleeping with his new wife, the Third Princess, Murasaki has her serving women read monogatari to her; there, she finds, even "men who have affairs, men who love love, and men who have divided and duplicitous hearts" (ada naru otoko, irogonomi, futagokoro aru hito & ;1 f'fs h, 4fef , iL, Ak) eventually settle upon one woman. By comparison with the world of stories, she concludes, real life with Genji is pitifully uncertain (4:203; S 609).

37. "Kashiwagi" / The Oak Tree

~Ld Ha HLt Fr Q f.f E - a 7Q {VXoL<K < shinu hi ni mo / tsumi mukui nado / shiru kiwa no

namida ni nizaru / hi no shizuku otsu Unlike the tears of the moment he knows retribution for such as his sins:

even on the day he dies, droplets of fire fall.64

64 The Shin-shin'yaku version replaces shiru with iu 3, "the moment he speaks of retribution."




Kashiwagi's death is described by the Genji narrator as "like foam dissolving away" (awa no kieiru yo nite i 0 T X 5 - -5 IT, 4:308; S 647). Akiko prefers to recall his undying passion for the Third Princess, and chooses instead a fire metaphor, perhaps from Kashiwagi's poem earlier in the chapter:

( ~ Jktt; I -C tM, Zk t t(tJ0 t t T ~

~ft t~ ti -,fit bt 'I fl_,% , 0 4 f (9, -I b 4 t t

ima wa tote / moemu keburi mo / musubore taenu omoi no /nao ya nokoramu (4:281; S 637)

Though now I am to burn, like lingering smoke from my funeral pyre, this smoldering fire of unquenchable love surely shall remain.

Kashiwagi is not the only character in this chapter who senses that he is experi- encing karmic retribution: when Genji learns that the Third Princess has given birth to a boy he knows to be Kashiwagi's child, he realizes that he is made to pay, at least in part, for the sin of his adulterous relationship with Fujitsubo (4:288-89; S 640).

38. "Yokobue" / The Flute

naki hito no / tenare nofue ni /yori mo koshi yume no yukue no / samuki yowa kana

So the departed one came back for the flute he favored with his touch; how chill the dead of night into which the dream has vanished.

Yugiri, just awakened from his dream of Kashiwagi (4:347-48; S 663), is the speaker of this poem.

39. "Suzumushi" / The Bell Cricket

JU _ L o * E A@ i ; ft7 t& fA; i ~ t 7

suzumushi wa / Shakamuni Butsu no / ondeshi no kimi no tame ni to / aki o kiyomuru

"For your sake, honored disciple of Sakyamuni the Buddha," says the bell cricket, purifying autumn with its song.

The honored disciple of the Buddha is the Third Princess, who became a nun following the birth of her son in the "Kashiwagi" chapter (4:298; S 643). And yet Genji continues to trouble her with frequent visits. One autumn evening, the princess is murmuring her devotions as Genji arrives. He first remarks on the chorus of insects that can be heard, then softly adds his voice to her invocation to the Buddha Amida. "Of all these voices," the Genji narrator remarks, the bell cricket's song is "clearest and most charming" (hanayaka ni okashi it~-ht7I

:7/5 L, 4:369; S 672). Akiko takes "all these voices" to include those of humans as well as insects, thus making possible the conceit that the bell cricket joins in chanting the Buddha's name on behalf of the princess, assisting her to lighten her burden of accumulated sin.




40 and 41. "Yugiri" / Evening Mist

tsumado yori / kiyoki otoko no / izuru koro goya no risshi no / monoboru koro

Just as the fair gentleman departs through the hinged doors, just then arrives the holy man to conduct early morning devotions.

Kashiwagi's widow, the Second Princess, has moved to her mother's villa in Ono il\f, and Yugiri pays a visit to press his suit. The wording of Akiko's poem closely follows the holy man's (risshi )fl) own recollection of what he saw as he arrived at the villa to conduct early morning services: goya ni monoboritsuru ni, kano nishi no tsumado yori, ito uruwashiki otoko no idetamaeru o 'i -tl -O0 -)D 7N) @ TP ?/ t E _t > L~ - 7 U U(4:404; S 684).

kaerikoshi / miyako no ie ni / Otonashi no taki wa ochinedo / namida nagaruru

At my home in the capital to which I have returned, no Soundless Waterfall pours forth; but tears do flow.

This, Akiko's second poem for the chapter, is Yugiri's response to a "poem" from the Second Princess. Actually it is only a pastiche he replies to, pieced together from fragments of the princess's hand sent to him by a sympathetic waiting lady when the princess refused to compose a poem of her own. The patchwork reads (4:440; S 699):

Q y t1s < IF3 ;~- aL/I " tf 1 - EYQ s " 1'fs1L -t M3ts U

S )

asa yu ni / naku ne o tatsuru / Onoyama wa taenu namida ya / Otonashi no taki

At Mount Ono, where my sobs sound day and night, are my ceaseless tears become the Soundless Waterfall?

42. "Minori" / The Rites

7t1s 0A ta a) 0 0) 0, E L i t=E 1E' I3 Tt E)

nao haru no / mashiroki hana to / miyuredomo tomo ni shinu made / kanashikarikeri

Still more like a pure-white spring flower she now appeared; yet so sad it made him that he felt he might die with her.

Murasaki is dead, and yet in death flawless, "her face so white it seemed to glow" (on'iro wa ito shiroku hikaruyo nite itPU e a < At -5 I-iT, 4:495; S 719). Genji is engulfed in grief "such as he had never felt before, nor would ever know the like of again" (subete koshi kata yuku saki tagui naki kokochi shitamau T-4 TCL U 5f< c< Lt jLt < t ,i_ L', 4:496; S 719).




43. "Maboroshi" / The Wizard

ozora no / hi no hikari sae / tsukuru hi no yoyaku chikaki / kokochi koso sure

And now, so one feels, the day at length draws nigh when even the brilliance of the sun in the boundless heavens will be extinguished.65

The speaker of this poem observes Genji making preparations to turn his back upon the world, and concludes that his death, too, cannot be far away. Akiko's diction is probably drawn from several of Genji's poems in this chapter: ozora from his request of the wizard in the heavens that he find where Murasaki is gone (4:531; S 733); and tsukuru from his last words, toshi mo waga yo mo /kyo ya tsukinuru 7 t b ~t': t dt-f tSA , "the year and my life as well, are they at an end today?" (4:536; S 734).

44. "Kumogakure" / Hidden in Clouds

kakikurasu / namida ka kumo ka / shiranedomo hikari miseneba / kakanu issho

Whether darkened by tears or by clouds I know not, but his brilliance he did not show and thus this one chapter she did not write.

Akiko bases this poem upon the medieval legend that Murasaki Shikibu found herself unable to describe Genji's death in words and thus provided only a title for this "chapter" and no text.

45. "Niou Miya" / His Perfumed Highness H OYEI ) j O 4f -[M t-I aA O5 tJ 3 t (9 * \

haru no hi no / hikari no nagori / hanazono ni nioikaoru to / om6yuru kana

One cannot but feel that the brilliance of the sun on a day in spring lingers in the perfume and fragrance of the flower grove.

Genji-Akiko's hi no hikari in this poem and also in poems 1 and 43-has died, and among his many descendants there is no one who shines with quite his brilliance. Only two stand out: Niou, the third son of the reigning emperor and the Akashi princess, and Kaoru, nominally Genji's son by the Third Princess (5:11; S 735). Akiko's poem introduces the two young men and hints at the diminishment implied by their scent-related names. Niou, "his perfumed highness," has a passion for perfume-making and scenting himself (5:21; S 739); whereas Kaoru,

65 In the Shin-shin'yaku version, tsukuru hi no is replaced by tsukuru yo no 3 < t tD, "the world in which [the light] will be extinguished."




"the fragrant captain," is naturally permeated with an otherworldly scent (5:20- 21; S 739). Yet the two together do not add up to the brilliance (hikari) of Genji.

46. "Kobai" / The Rose Plum

A5 stf A X3 t C^ tc h ;ItfI its b C l^O; 11 s Ej^^ ^^1 Af

uguisu mo / koyo ya to bakari / kobai no hana no aruji wa / nodoyaka ni matsu

Come visit warbler, do! Kobai does nothing but ask; and yet the mistress of the rose plum is content to wait quietly.66

Kobai ,MIt (To no Chujo's eldest surviving son) urges Niou to pay him a visit, and at the same time to pay some attention to his daughters (5:43; S 747). But it is Kobai's stepdaughter (Makibashira's daughter by the late Prince Hotaru) to whom Niou is most attracted. She, "the mistress of the rose plum," does not requite his interest (5:48-49; S 750).

47. "Takekawa" / Bamboo River

himetachi wa / toko otome nite / haru goto ni hana arasoi o / kurikaesekashi

Would that you young ladies might remain eternal maidens; every spring to repeat your contest for this cherry tree.

The young ladies are Tamakazura' s two daughters by her late husband Higekuro. Their competition is a tournament of go, the prize at stake one of the cherry trees in their garden (5:71-73; S 759-60). Akiko's poem may well be spoken in the persona of Yugiri' s son Kurodo no Shosho iA ~}J,4, "the lieutenant," as he steals a glimpse of the young women from the gallery-a scene conventionally depicted in illustrations of this chapter of Genji.67

48. "Hashihime" / The Lady at the Bridge

shimeyaka ni / kokoro no nurenu / kawagiri no tachimau ie wa /aware naru kana

How movingly forlorn is the house amidst the swirling river mists that so softly soak his heart.

The heart is Kaoru's, as one night late in autumn he approaches the house on the river at Uji $ where Hachi no Miya /kai, "the Eighth Prince," lives with his

66 In the Shin-shin'yaku version, koyo ya to bakari is replaced by towaba toekashi a lWl a A 7t L, "if you would come calling, then do come."

67 The second illustration for the "Takekawa" chapter in the Owari Tokugawa Genji emaki mentioned above in footnote 62 depicts precisely this scene.




daughters Oigimi 5;k and Nakanokimi E@rc (5:127-28; S 783-4). In the Genji text Kaoru is soaked to the skin by mist and dew on the road to Uji. Akiko's mist is atmospheric as well as meteorological, and penetrates even his feelings.

49. "Shiigamoto" / Beneath the Oak

ake no tsuki / namida no gotoku / mashirokere mitera no kane no /mizu wataru toki

The dawn moon, like tears, glisteningly white, as echoes of the temple bell sound across the water.68

Just as the faint sound of the bell reaches the Uji house, messengers from the temple arrive, in tears, to tell Oigimi and Nakanokimi that their father has died during the night (5:180; S 808).

50. "Agemaki" / Trefoil Knots

kokoro o ba /hi no omoi mote /yakamashi to omoiki mi o ba / kemuri ni zo suru

If only I could burn away my heart with these fiery thoughts! thought I, committing that longed-for body to smoke upon the pyre.69

In this poem Kaoru voices the desperate wish that he might be released from his longing for the dead Oigimi. "'Was there nothing about her even slightly ordinary that might bring me to my senses? If this is really meant to make me abandon the world, pray let me find some flaw to assuage my sorrow, something horrific and ugly,' he begged of the Buddha; but there was nothing that would relieve his intense longing" (Nanigoto nite kono hito o sukoshi mo nanome nari- shi to omoisamasamu, makoto ni yo no naka o omoisutehatsuru shirube naraba, osoroshige ni ukikoto no, kanashisa mo samenubekifushi o dani mitsukesaseta- mae, to hotoke o nenjitamaedo, itodo omoinodomemu kata naku fJil-' & L T _- ) A;tY 71 t7_ U 1 5 t tt ts 0) fS U LORV-1 U 2s ; ( tt I L (: f 0) CP a rC tX I D 15 U

, : t _, E\ tL a ',= , E ?c tl7L) <, 5:319; S 867). Akiko distills this moving passage into a thirty-one syllable account of Kaoru's anguished thoughts as he contemplates Oigimi's still-beautiful corpse before consigning her to crema- tion-which he does with all possible haste (hitaburuni UP_,So L-) in his des- peration to remove at least the visual source of his suffering.

68 In the Shin-shin'yaku version, ake no tsuki is replaced by asa no tsuki lI )C , "morning moon." The text of Genji gives ariake no tsuki t'0 f, "moon visible in the sky at dawn."

69 In the Shin-shin'yaku version, omoiki mi o ba is replaced by negaiki mi o ba IN -Ltb ', giving "... I wished, committing that wished-for body ...."




51. "Sawarabi" / Early Ferns

sawarabi no / uta o hoshi su / kimi no goto yoki kotoba o ba / shiranu medetasa

The monk makes a poem on early ferns; and how splendid are those words of one who knows naught of fine phrases the likes of yours.70

"Kimi" is Niou, and the poem is addressed to him by Nakanokimi. She compares the "ill-written" (te wa ito ashute T-ta U 5 CT) but "deeply moving" (ito aware nite d a: &t lt -_ T-) poem sent by the abbot of the temple where her father died, with the "frivolous and apparently not deeply felt words, so splendidly and seductively strung together" (naozari ni, sashi mo obosanu nameri to miyuru koto no ha o medetaku konomashige ni kakitsukushitamaeru tfs t ) , L U t . , f :&t 0 L ta & 6 ~ 03A TP :_< ~f _ U f CZ - < bU fc L ) of Niou's love letters, and finds the former "incomparably more attractive" (koyonaku metomarite

Jt f: < a I< t0 C, 5:336; S 873).

52. "Yadorigi" / The Ivy

okenaki / omimusume o / inishie no hito ni niyo to mo / omoikeru kana

This honored daughter of an emperor, so far above him, yet how he wishes she might resemble his beloved of the past.

Kaoru's longing for the dead Oigimi is so unremitting that he hopes even the Second Princess, with whom he is united in this chapter, will resemble her (5:372, 406; S 890, 904).

53 and 54. "Azumaya" / The Eastern Cottage aq-, i 4 &) 34 z'K t; tf 8it17> Aft - 0 f t 0

asagiri no /naka o kitsureba / waga sode ni kimi ga hanada no / iro utsurikeri

As we make our way through the morning mist, my sleeve overlain by yours has been stained through by the color of your pale blue.

As Kaoru and Ukifune i? --half-sister of Oigimi and Nakanokimi-travel to Uji by ox-drawn carriage, he notices that Ukifune's red sleeve is overlain by the light blue (hana t~ in Genji; Akiko's hanada no iro) of his own sleeve. Dampened in the river mist, this combination produces a striking blueish purple, possibly reminiscent of the blue-gray of mourning that he wore for Oigimi (6:88,

70 In the Shin-shin 'yaku version, kimi no goto is replaced by kimi ni nizu L i. {f'tT, giving "how splendid those words of one, unlike you, who knows naught of fine phrases."




esp. notes 5, 6 and 8; S 968). In Akiko's poem it is Ukifune who notices this, not Kaoru.

arishi yo no / kiri kite sode o / nurashikeri warinakeredomo / Uji chikazukeba

Mists of a life that was and of times now past come to soak my sleeves, deeply painful though it is, as we draw near to Uji.

For the epigraph to this chapter in the Shin-shin'yaku Genji monogatari, Akiko composed a completely new poem. The same scene from Genji provides the source, but in contrast to the previous poem, the speaker here is Kaoru. As they approach Uji, his longing for times past intensifies (koshi kata no koishisa masa- rite SA L J0Y? L U T ~ 0 T). And when their carriage lurches, bringing into view their dampened, overlapping sleeves, he is overwhelmed by this unexpected reminder of the mourning he wore for his beloved Oigimi. Akiko's poem echoes both this scene and the poem Kaoru murmurs at its climax (6:88; S 968):

katami zo to / miru ni tsukete wa /asatsuyu no tokoroseki made / nururu sode kana

Seeing you as a reminder of my beloved, in the morning dew deep and thick about us, my sleeves are soaked, my spirit chokes.

55. "Ukifune" / A Boat upon the Waters

fI jJ t9 ft A C t , Ut'4QDE L /IN, 4 ? (- n N <

nani yori mo / ayauki mono to / kanete mishi obune no ue ni /mizukara o oku

More perilous than anything else, I'd long seen: this little boat I board and to which I entrust myself.71

The speaker of this poem is Ukifune. In the previous chapter, visiting her half- sister Nakanokimi in the capital, she had inadvertently attracted Niou's attentions (6:54-59; S 953-56). In the "Ukifune" chapter, Niou travels to Uji, where he poses as Kaoru successfully enough to be shown to Ukifune's side; he spends the night and the following day with her (6:115-28; S 980-85). Later, Niou makes another visit to Uji, this time to carry Ukifune off in a boat to a house on the other side of the Uji river (6:140-48; S 990-94). By this time, in Akiko's view, Ukifune should have "long known" that Niou was "more perilous than anything" when she "entrusted" herself to him.

71 In the Shin-shin'yaku version, obune no ue ni is replaced by obune no naka ni "I\f A r0 _, this little boat into which I board and entrust myself."




56. "Kagero" / The Drake Fly

-sel: 0 1- I HA LI t 1!~ a) J) t 6 s z StU 6 4Q * hitotoki wa / me ni mishi mono o / kagero no

aru ka naki ka o / shiranu hakanasa

Though once I saw her with my own eyes, it pains me not to know whether she is or is no more, this creature frail as the drake fly.

"This creature frail as the drake fly" is of course Ukifune, whose whereabouts are at this point unknown to Kaoru, the speaker of the poem. Akiko takes the language of her poem not only from Kaoru's poem, which gives this chapter its title, but also from his murmured remark that follows it, aru ka naki ka no, "is she or is she no more" (6:264; S 1042).72

57 and 58. "Tenarai" / At Writing Practice

samegata ka /yume no nakaba ka / ana kashiko nori no miyama ni / hodo chikaku iru

Am I about to wake; or in the midst of a dream? Awe-inspiring to be so near to the holy mountain of the Dharma.

Distraught over the rivalry between Niou and Kaoru for her affections, Ukifune wishes she could die, but is found by a bishop who happens to be in the area and who takes her back to Hieizan with his entourage. The speaker of Akiko's poem is Ukifune as she returns to consciousness in the "unknown land" (shiranu kuni 4 M 4) of the nunnery at Ono I/Jg on the western slopes of Mt. Hiei (6:283; S 1050). At first she still wants to die (nao ika de shinan tgttATEtg/); but, finding herself, as Akiko puts it, "near to the holy mountain," she asks that she be made a nun herself. That would be the only way, she says, she might some- how go on living (Ama ni nashitamaite yo. Sate nomi nan ikuyo mo arubeki FL

fs : L TxTZ o I TCA. C /u: < ( %-5 ,~t , 6:286; S 1051).

hodo chikaki / nori no miyama o / tanomitaru ominaeshi ka to / miyuru narikere

72 The editors of the NKBZ Genji suggest (6:264, note 10) that possible sources of Kaoru's kagero no aru ka naki ka include Gosenshu :(1 1191 and 1264, both by unknown authors on unknown occasions:

b5 utt L t* L, Le t C 1 U M ff ' 5,SOS 154 7b fS age tAlp Wi S qa -teas aware to mo / ushi to mo iwaji / kagero no

aru ka naki ka ni / kenuru yo nareba Let us call it neither affecting nor bleak, this world; for it vanishes

like the drake fly, before we know if it is or is not.

yo no naka to / iitsuru mono wa / kagero no aru ka naki ka no / hodo ni zo arikeru




Almost like a maidenflower she seems, she who places her trust in the holy mountain of the Dharma now so near.

The image of the maidenflower is drawn from an exchange of poems between Chujo -43 ("the captain") and his late wife's mother Imotoama Ji ("the bishop's sister"). While visiting the nunnery, the captain catches a glimpse of Ukifune and his curiosity is piqued. In his poem he enjoins her, the "maidenflower," not to bend to the wind/the will of other men, because he wants her for his own. Ukifune refuses to respond and the bishop's sister replies in her stead (6:301; S 1057-58). Although Akiko employs the maidenflower image, she empties it of its usual suggestive content; the focus of her poem is rather Ukifune's religious awakening.

59 and 60. "Yume no ukihashi" / The Floating Bridge of Dreams

t (-- hj t -;tC ML cv -J^ z2t75i^ k 7 J C )0ff T <

hotaru dani / sore to yosoete / nagametsure kimi ga kuruma no / hi no sugite yuku

Even the fireflies I had been gazing upon I liken to them: the flaming torches of your carriage passing out of view.

The speaker of this poem is Ukifune in that moment when her gaze lifts from the fireflies flitting above the stream in the garden of the nunnery to the distant torches of Kaoru' s outriders in the valley below. "With only the fireflies over the garden stream to console her as she recalled the past, she sat gazing out, as always, when from beneath the eaves that looked over the distant valley ... she saw the restless lights of many flaming torches" (Yarimizu no hotaru bakari o mukashi oboyuru nagusame nite nagameitamaeru ni, rei no, haruka ni miyara- ruru tani no nokiba yori ... ito o tomoshitaru hi no nodokanaranu hikari o miru

-I:,- t i?4 t -4 , ,z - ,d , , , , (Z' 04

OFT bJO ... t L 75 tdT5 h 0oLT0) )

7" ) Ya Sg, 6:368-69; S 1085). Akiko's poem suggests the sudden sinking feeling Ukifune experiences as her gaze shifts from a scene that arouses pleasant memories to one that brings back everything she is trying to forget.

akekure ni / mukashi koishiki / kokoro mote ikuru yo mo hata /yume no ukihashi

Day and night possessed of a heart still burning with longing for times past, in the end this world, too, is but a floating bridge of dreams.

Again the speaker is Ukifune; the time, a moment later, as she watches Kaoru's entourage advance up the valley. "'As the days and months slip by, and I am

This that we call the world and our lives therein: but a space of time, gone, like the drake fly, before we know if it is or is not.




unable to forget the past, now what am I to do?' she thinks, sick at heart" (Tsuki hi no sugiyuku mama ni, mukashi no koto no kaku omoiwasurenu mo, ima wa nani subeki koto zo to kokoro ukereba f l Oi) S < I I lz, _ > & e7d < ,i,

1 o Hf4JITt, EL-_' _ jL'Ui*,thcl', 6:369; S 1085). According to the Genji narrator, her solution is to try to distract herself in devotions to the Buddha Amida. Akiko, in her poem, goes further, according Ukifune a sense of resig- nation she never achieves in Genji.73

73 On this point, see Tyler and Tyler forthcoming.




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